Cyberpunk in a Transnational Context PDF
Preview Cyberpunk in a Transnational Context
arts Cyberpunk in a Transnational Context Edited by Takayuki Tatsumi Printed Edition of the Special Issue Published in Arts www.mdpi.com/journal/arts Cyberpunk in a Transnational Context Cyberpunk in a Transnational Context SpecialIssueEditor TakayukiTatsumi MDPI•Basel•Beijing•Wuhan•Barcelona•Belgrade SpecialIssueEditor TakayukiTatsumi KeioUniversity Japan EditorialOffice MDPI St.Alban-Anlage66 4052Basel,Switzerland ThisisareprintofarticlesfromtheSpecialIssuepublishedonlineintheopenaccessjournalArts (ISSN 2076-0752) from 2018 to 2019 (available at: https://www.mdpi.com/journal/arts/special issues/cyberpunk) Forcitationpurposes,citeeacharticleindependentlyasindicatedonthearticlepageonlineandas indicatedbelow: LastName,A.A.; LastName,B.B.; LastName,C.C.ArticleTitle. JournalNameYear,ArticleNumber, PageRange. ISBN978-3-03921-421-1(Pbk) ISBN978-3-03921–422-8(PDF) Coverimagecourtesyofnika:”Hikari”(Light). (cid:2)c 2019bytheauthors. ArticlesinthisbookareOpenAccessanddistributedundertheCreative Commons Attribution (CC BY) license, which allows users to download, copy and build upon publishedarticles,aslongastheauthorandpublisherareproperlycredited,whichensuresmaximum disseminationandawiderimpactofourpublications. ThebookasawholeisdistributedbyMDPIunderthetermsandconditionsoftheCreativeCommons licenseCCBY-NC-ND. Contents AbouttheSpecialIssueEditor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii Prefaceto”CyberpunkinaTransnationalContext”. . . . . . . . . . . . . . . . . . . . . . . . . . ix TakayukiTatsumi TheFutureofCyberpunkCriticism:IntroductiontoTranspacificCyberpunk Reprintedfrom:Arts2019,8,40,doi:10.3390/arts8010040 . . . . . . . . . . . . . . . . . . . . . . . 1 MikeMosher SomeAspectsofCaliforniaCyberpunk Reprintedfrom:Arts2018,7,54,doi:10.3390/arts7040054 . . . . . . . . . . . . . . . . . . . . . . . 4 FrenchyLunning CyberpunkRedux:De´rivesintheRichSightofPost-AnthropocentricVisuality Reprintedfrom:Arts2018,7,38,doi:10.3390/arts7030038 . . . . . . . . . . . . . . . . . . . . . . . 16 LidiaMera´s EuropeanCyberpunkCinema Reprintedfrom:Arts2018,7,45,doi:10.3390/arts7030045 . . . . . . . . . . . . . . . . . . . . . . . 29 ElanaGomel RecycledDystopias:CyberpunkandtheEndofHistory Reprintedfrom:Arts2018,7,31,doi:10.3390/arts7030031 . . . . . . . . . . . . . . . . . . . . . . . 46 MartindelaIglesia HasAkiraAlwaysBeenaCyberpunkComic? Reprintedfrom:Arts2018,7,32,doi:10.3390/arts7030032 . . . . . . . . . . . . . . . . . . . . . . . 54 DenisTaillandier NewSpacesforOldMotifs?TheVirtualWorldsofJapaneseCyberpunk Reprintedfrom:Arts2018,7,60,doi:10.3390/arts7040060 . . . . . . . . . . . . . . . . . . . . . . . 67 JanineTobeckandDonaldJellerson CaringaboutthePast,Present,andFutureinWilliamGibson’sPatternRecognitionandGuerrilla Games’Horizon:ZeroDawn Reprintedfrom:Arts2018,7,53,doi:10.3390/arts7040053 . . . . . . . . . . . . . . . . . . . . . . . 82 TakayukiTatsumi TranspacificCyberpunk:TransgenericInteractionsbetweenProse,Cinema,andManga Reprintedfrom:Arts2018,7,9,doi:10.3390/arts7010009. . . . . . . . . . . . . . . . . . . . . . . . 100 v About the Special Issue Editor Takayuki Tatsumi has taught American Literature and Critical Theory at Keio University, Tokyo, since1989. HeservedasPresidentofTheAmericanLiteratureSocietyofJapan(2014–2017)andof ThePoeSocietyofJapan(2009–),andasVicePresidentoftheMelvilleSocietyofJapan(2012–). He iscurrentlyamemberoftheEditorialBoardofPARADOXA,MarkTwainStudies,andtheJournalof TransnationalAmericanStudies. HisbookFullMetalApache: TransactionsbetweenCyberpunkJapanand Avant-PopAmerica(DukeUP,2006)wonthe2010IAFA(InternationalAssociationfortheFantastic in the Arts) Distinguished Scholarship Award. Co-editor of the “New Japanese Fiction” issue of ReviewofContemporaryFiction(Summer2002),RobotGhosts,WiredDreams(UofMinnesotaP,2007), the special “Three Asias—Japan, S. Korea, China” issue of PARADOXA (No. 22, 2010) and The Routledge Companion to Transnational American Studies (Routledge, 2019), he has also published a variety of essays in PMLA, Critique, Extrapolation, American Book Review, Mechademia, The Oxford ResearchEncyclopediaofLiterature,andelsewhereonsubjectsrangingfromtheAmericanRenaissance to post-cyberpunk fiction and film. His recent collaborations include The Cambridge History of PostmodernLiterature(2016)andTheLiverpoolCompaniontoWorldScienceFictionFilm(2014).Hisrecent monographsinclude:YoungAmericansinLiterature:ThePost-RomanticTurnintheAgeofPoe,Hawthorne andMelville(Sairyusha,2018). vii Preface to ”Cyberpunk in a Transnational Context” Since the inception of cyberpunk in the early 1980s, which coincided with the dawn of the Internetandtheriseofcomputerhackers,themovement,withWilliamGibsonassuperstarandBruce Sterlingastheoreticalchairman,hasconsistentlycreatedatremendousimpactontoday’sliterature andculture,rangingfrommangaandanimetocinema. WilliamGibson’s1980sCyberspaceTrilogy (Neuromancer[1984],CountZero[1986],andMonaLisaOverdrive[1988]),whichexploredthefrontier ofcyberspace—anothernamefortheInternetcoinedbythesameauthor—wasfollowedbyhis1990s “BridgeTrilogy”(VirtualLight[1993],Idoru[1996],andAllTomorrow’sParties[1999])featuringavirtual idolReiToei,withoutwhomnoAIBeauty(suchasHatsuneMiku)couldhavebeencreated.However, hereweshouldreconsidertheextraterritorialstatusofGibson,whoimmigratedfromSouthCarolina toToronto,Canada,toevadethedraft. Beingatypicaloutsider,Gibsonputspecialemphasisonthe Lo-Tekspiritofacounterculturaltribeinthepost-apocalypticnear-future,andreplacethekeyword “steampunk”with“post-apocalypse”.ThiswastobesharedbythepunkkidsthatOtomodescribes inAkiraandthehumanweaponsdistinguisheddirectorShinyaTsukamotorepresentsinhisTETSUO trilogy(1989–2010),oneofthemajorinheritorsoftheJapaneseApachecreatedbyKomatsuSakyo, a founding father of Japanese science fiction, in his first novel Nippon Apacchi-zoku (The Japanese Apache[1964])asIdetailedinFullMetalApache(DukeUP,2006).Afurtherdescendantofcyberpunk couldwellbeeasilynoticedinNeilBlomkamp’sSouthAfricanpost-cyberpunkfilm,District9(2009), inwhichthenativesofJohannesburgandthemiserablealienslostinspaceturnouttohavetheLo-Tek spiritincommon. Yes, cyberpunk is a literary and (sub-)cultural subgenre not so much celebrating the growth ofhigh-technologyastheneo-extraterritorialspiritofLo-Tektribesbornoutofpostmodernstreets. Whatmattersnowisthat,inthiscontext,cyberpunkhasstartedgainingnewsignificance,notonlyin today’sartsofrepresentation,butalsoininternational/transnationalpolitics. Thepresentcollection of essays showcases a diversity of cyberpunk possibilities ranging from Cool Japan, Dystopian narrativedowntothepostmodernextraterritorialandAnthropocene. TakayukiTatsumi SpecialIssueEditor ix
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